speechless

So I just wasted the most horrifying hour and a half of my life.

I watched The Human Centipede on Netflix and regret it completely. In all honesty, it wasn't the content that turned me off. Obviously the concept is disgusting and disgraceful, but I'd like to think I have a relatively strong stomach when it comes to the outrageous and nonsensical. Just about everything else was really what got me - the terrible acting, the shoddy camera work, the predictability and lack of suspense... I have now lost more than an hour of my life which I will never get back...

Once I can gather my thoughts I'll try to write something of substance about this movie.

For now I can only string together a few things about Centipede that I can't get out of my head:

Pro: No real background on the Doctor and his psychotic experimentation - I love a movie where we don't get an answer to any of the "whys?"

Con: There were moments in the film where it was clear they were trying to develop the character of the Doctor. It was too much for us to completely disconnect from him, but not enough that we understand his madness. In my opinion I don't think there's any room for this sort of middle ground character development. Either he's a crazed lunatic for no reason, or we learn of something substantial that causes him to be this way. Just a little of each makes our interpretation of him murky.

Pro: The Japanese actor - his lines were just horrible, but his delivery was impeccable. He definitely stole the movie.

Con: Nothing is left to the imagination - the "creature" is revealed right away. The reveal does have some hint of suspense, but for a really effective shock the wait should have been longer. The more build up, the better the surprise in the end.

Con: Why give them gauze diapers, but still keep the ladies topless? I know why - just because! Movies like this really bother me. Blood/guts/gore/sex just to be shocking. If it's not in any way related to the plot, then what's the point? The popularity of these shocker films is only growing (how many Saw's are there now!?)... and it's because viewers, writers, and even producers are getting lazy. Nobody cares enough about substance to pay attention to content... think about that one for a bit kids.

In the meantime, while I try to organize all the different things I have to say about this movie, I'm going to think about kittens, rainbows, and just about anything else that might make me feel better.

Halloween Spirit

In the spirit of the upcoming holiday (my most favorite of all, no less) I spent my morning trolling the internet for new horror releases and specially featured screenings of classic Halloween favorites. In my search, I stumbled upon what looks to be a promising gem.

The Loved Ones, an Australian import, is a story about a crush gone very wrong. Lola, a quiet and awkward girl becomes taken with Brent, a troubled young man who is haunted by his father's death and mother's subsequent breakdown. Despite his rebellious behavior and psychological burdens, he finds solace in his normal, caring, beautiful girlfriend. But Lola's jealousy becomes unmanageable after Brent rejects her invitation to the school dance, and she takes a dark road towards getting what she wants.

After watching only the trailer, I'm already convinced of this film's potential. Featuring Xavier Samuel, Robin McLeavy, and John Brumpton, the preview of The Loved Ones portrays the film as campy, engaging, excessive, and down right disturbing. It looks fantastic!

In the vein of High Tension, with clear inspiration from The Texas Chainsaw Massacre, 'Ain't It Cool News' seems to have gotten it right with their description of the film as "a truly demented masterpiece."

Obviously it's difficult to really say anything about a film I haven't seen. But The Loved Ones has been featured at 12 different film festivals, and highly lauded at each. As a horror junky, I'm pretty excited about seeing this (hopefully on the big screen), and can't wait to really get into it's content and style.

The Loved Ones - HD Trailer C.O. IMDB.com

More More More!

JUNE 20th, 2009

YEAR ONE

In the same vein as Superbad (as well as containing a majority of the same film’s cast), Year One is able to pull the laughs, scoffs, “ewwws,” and cult fans.

The film boasts a stellar cast of comedic giants like Hank Azaria, Oliver Platt and David Cross. But aside from the many hilarious cameos, the primary cast is perfect in each of their roles. They offer just the right amount of true acting talent, even if it is buried underneath disgusting scenes where characters piss all over their own faces, shit in their beds, and repeat many of the same jokes, over and over again.

Aside from the “toilet humor” throughout, the film is actually pretty good for this genre, and I think this can be attributed to its direction. What makes Harold Ramis such a fantastic director is his ability to understand both sides of filmmaking - what it takes behind the scenes to make a film great, and what the actors in front of the camera must project in order to give the performance demanded of them. Ramis is able to relate to his actors, and can therefore draw out the comedy necessary to get just the right amount of laughs. His hands on approach is what has made Year One an effective film. This is a Harold Ramis film, through and through.

And the multitude of Jewish jokes… oy! Don’t get my started. Hilarious… if not, again, over done…

In all honesty, this is my kind of genre. I’m a Jack Black junkie and I love Michael Cera’s dry delivery. These men are characters in their own right, which makes them relatable and believable. When one imagines meeting them in person, it’s almost expected that hey will behave as their characters always do. Well done casting team, well done.

-----------------

WEEDS - SEASON 5

Only 3 episodes in, and Season 5 is already proving to be much more entertaining than the train wreck that was Season 4 of Weeds.

Shane is still incredibly troubled, but that’s what we’ve come to expect from him. At this point it’s no longer annoying. His quirky and disturbing interest in his own family’s sexual exploits is now nothing more than a strange and almost acceptably character trait.

Nancy’s formerly irritating ignorance is FINALLY getting her into trouble. She’s not simply a pair of big brown eyes anymore. She knows what’s going down, and it’s starting to break her. While last season I was simply annoyed with her story, I now look forward to what comes next.

Celia is still a bit excessive… but now that she’s finally admitted she has no friends and nobody to turn to, she is actually becoming somewhat relatable.

The episodes are better written and, as usual, incredibly well directed and shot. Season 5 is looking promising kiddies… Lets see what happens…

Catching Up...

Realized I have some left over posts from my Tumbler that never made the journey here to blogger...

JUNE 5th, 2009

WEEDS

Finally making my way through the fourth season of Weeds (trying to catch up before the new season begins this week), and I’m thoroughly disappointed with the quality of the show these days.

Season Three started to go downhill towards the end, but I never expected it to get this bad. The writing and dialogue are still up to par, and the acting is always fantastic, but it seems the writers are reaching for plot points and story lines. Everything is over the top and exaggerated, and the characters are becoming caricatures of their former selves. Nancy’s wide eyed play at innocence is getting old, but her attempts at dominance are growing more pathetic. And poor, poor Silas, always failing with the women in his life, getting stuck in reckless and uncomfortable situations. Shane’s smart/eccentric little boy phase is also becoming overwhelming. Taking control of security in the house… awesome. The whole talking to his dead father thing… weird. Masturbating to old pictures of Nancy… awwwwwkwarrrrdddd. And don’t even get me started on Celia.

As far as this viewer is concerned, the only ray of light in the show anymore is Guillermo. I’m a huge fan of Diaz’s work (particularly in the masterpiece “Half Baked”), and I’m really glad that they’ve kept him around… I was hoping that he’d become a more regular character after his first appearance.

I’m desperately hoping that Season Five has more to offer.

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STAR TRECK

Monday evening I went to see STAR TRECK with my uncle - a fan since childood - and I actually thoroughly enjoyed the film! I was really shocked, though, to find that my uncle loved it too. I was convinced he would take issue with inaccuracies, or simply with the fact that it was a remake of one of his childhood favorites... But no. He had just as much fun as I did.

The special effects are surprisingly well done. Nothing is over the top, and the film’s visual style is able to stand on its own, while remaining somewhat reminiscent of George Lucas’ original “Star Wars” trilogy. There is no reason to question the blending of environments - Vulcan cities, schools, and topography are equally as realistic as Earths dry Iowa. The futuristic elements do not overshadow the realistic settings, nor do they take away from the very human interactions throughout the film. In terms of effects and style, the only problem I encountered while watching the film was Kirk’s green love interest - she brought up images of Idina Menzel in “Wicked” on Broadway.

One confusing element of the film is the time travel and existence of a present and future Spock. Obviously this is one circumstance where reason and believability is overcome by story (We are talking about a science fiction film, after all!). However, as I left the theater I felt as if there were some significant plot holes. I simply might not have been paying close enough attention to the explanation of this anomaly… But as such a significant portion of the film revolved around time travel, especially changes in the course of history, I was left feeling that the overall issue was unresolved.

Finally, the acting is impeccable. Zachary Quinto’s performance as Spock has been surprisingly praised by old-school Treckies and new fans alike (even by Leonard Nimoy himself!). He is able to master his character’s emotionlessness, providing a dramatic and serious performance, while also adding hints of coy and knowing sarcasm that only Quinto can deliver. Performances aside though, the real beauty of the film lies in the casting choices made by the filmmakers. Unexpected but fitting picks such as John Cho, Simon Pegg and even the young Jimmy Bennett bring the characters to life, turing them into dynamic and relatable individuals - not caricatures of the original cast. One unusual choice, though, is the casting of Winona Ryder as Spock’s human mother. Not believable. Not good. Simply… odd.

Overall, I really enjoyed this film. It was exciting, entertaining, but also well made. All the elements (cinematography, direction, writing, etc) came together cohesively and effectively to produce a great summer blockbuster.

Bubblings

Bubblings from the depths of childhood memories today.

I found this image on tumbler forever ago... can't remember the original site... but when I was eight this was the most romantic thing/scene/concept I'd ever encountered, and couldn't imagine anything more so...

sigh... memories

The Last Exorcism

My interest in actually going to see The Last Exorcism borders on sick curiosity and complete ambivalence.

However, I am thoroughly impressed by the distributers choice in digitally marketing their product.

Viral promotion is nothing new. For years the internet has provided filmmakers and studios with an outlet for reaching millions of viewers in new and creative ways. Official websites are now more accessible and user friendly. Certain films are linked in with product lines and other companies in cross promotional efforts. And more recently the use of message boards, websites, blogs etc add a new dimension to the creation of "hype" about a film before its release. Often at no expense to the filmmakers, they spread the word about a film, increase awareness, create discussions, and theoretically increase viewership.

Cloverfield is the best example of this type of marketing strategy. The teaser trailer was released almost a year before the film went public. But the content of the clips presented were ambiguous - nobody knew what Cloverfield was. The title wasn't even included in the trailers! Clearly it was a disaster/monster movie, but there was something else. Almost everything about the movie was done under a cloak of secrecy. The project was quietly greenlit in 2007, casting was done secretly - the actors were unknowns and weren't even sent scripts for their auditions, and the filming was almost completely gorilla style.

But after the film was completed, the producers continued to encourage speculation about the film. The official website for Cloverfield consists of a series of timestamped images, but little else to give any sense of what the monster is or what the film is even about. JJ Abrams, a prominent film and television producer involved in the project, included fake product tie-ins in some of his other projects like Alias and Star Trek. Theorist websites like those for shows like LOST began popping up. While most studios try to put a damper on such blogs and message boards, the Cloverfield producers allowed for the speculation to continue. Ideas and questions spread, and enthusiasm for the film's release increased. The film was a box office success, grossing over one million dollars worldwide, substantially evening out the approximately $25 million production costs.

I assume that this is what the producers of The Last Exorcism are hoping for.

Trailers have now been showing in theaters and on television for over two months. Not unlike many similar films, the advertisements are both exciting and terrifying. Their viral marketing campaign, however, is unlike anything I've seen before.

Chatroulette, developed by a teenager from Russia, is a website on which users can anonymously connect to anyone around the globe using the website at that time. As its name implies, you can chat with strangers, but should you become bored or disinterested in the person on your screen, you can click through and, roulette-style, you are paired with a new partner. You never know what or who you might find on the other. Most often, you are faced with a group of young people - often one showing the rest what Chatroulette is. More often than not though, you will find half naked men pleasuring themselves for your viewing pleasure. Click through immediately. The website became incredibly popular earlier this year, however the interest waned quickly when the novelty wore off and the male nudity became exorbitant.

Sometimes, the "people" you are paired with are prerecorded images. My personal experience involves a quick chat with all three of the Jonas Brothers. I was suspicious from the get go, particularly because I had seen a still image on the news about celebrities using chat roulette - they were dressed exactly the same when I crossed paths with them. After explaining I wasn't a fan but knew who they were, I was asked to "show tits." Awesome. I clicked through and then enjoyed a nice chat with a handsome young man in England. There are the occasional weirdos in masks or funny costumes, the girls in full makeup, the frat guys drinking beer or smoking pot, and the elusive "normal" person, who, like you, is just curious about what's out there. Most common on the website are young men, usually 15-23, in pairs or groups looking for girls and trying to convince them to flash the camera. To my knowledge, this actually happens, but I have yet to understand why.

Anyway, knowing this, someone on The Last Exorcism team took note and came up with an incredibly clever, if not a bit behind the ball, idea. Their most recent campaign is a series of prerecorded "chats" in which a young woman flirtatiously looks into the camera, postures for the men watching, and teases them by beginning to unbutton her blouse. She giggles and feigns shyness, looking down and then back up at the camera. She looks down again, but when her gaze returns her eyes are glazed over and she looks nothing less than terrifying. They then roll back into her head and she grimaces and lunges at the camera. The screen goes black, and then she reappears and lunges again. The screen goes black one last time and reveals the website for thelastexorcism.com.

It is, in a word, brilliant.

See it here at The Last Exorcism - Best Of Chatroulette Reactions

Brilliance

I couldn't have said it better myself. I was going to try... but it's not even worth it. This says it all.

GROWN UPS

by Stephen Holden

Summer Releases and Must Sees

Looking forward to seeing these after watching the trailers on itunes... And proud that this summer's box office wont be based solely on blow-em-up blockbusters. There are a collection of high quality films here. Can't wait to see them.

(All synopses taken from itunes movie trailers website)

CYRUS http://www.foxsearchlight.com/cyrus

Directed by Mark and Jay Duplass

Starring John C. Reily, Jonah Hill, Marisa Tomei, Catherine Keener and Matt Walsh

With John’s social life at a standstill and his ex wife about to get remarried, a down on his luck divorcee finally meets the woman of his dreams, only to discover she has another man in her life – her son. Written and directed by Jay and Mark Duplass, the iconoclastic filmmaking team behind Sundance Film Festival favorite THE PUFFY CHAIR, CYRUS takes an insightful and funny look at love and family in contemporary Los Angeles.

SOLITARY MAN http://www.solitarymanmovie.com/

Directed by Brian Koppelman and David Levien

Starring Michael Douglas, Susan Sarandon, Danny DeVito, Mary-Louise Parker, Jenna Fischer, Imogen Poots, and Jesse Eisenberg

When the film opens, Ben's on the verge of a comeback, but some of the same motivations that led to his demise are threatening to take him down again. He's divorced from Nancy, his college sweetheart and the one person who knows him better than anyone. Although he still finds the time to hang out with his daughter Susan and his adoring grandson, she breaks off contact when she discovers he's seeing one of her friends. His girlfriend Jordan is the daughter of a very influential businessman who's on the board of a major auto manufacturer. If Ben can just keep his hubris in check for a little while longer, he will be back as big as ever. But circumstances place him in very close proximity with the one girl he shouldn't touch, throwing everything into jeopardy.

THE KILLER INSIDE ME http://www.ifcfilms.com/films/the-killer-inside-me

Directed by Michael Winterbottom

Starring Casey Affleck, Kate Hudson, Jessica Alba, Simon Baker, Bill Pullman, Ned Beatty, and Elias Koteas

From director Michael Winterbotton comes THE KILLER INSIDE ME which has electrified audiences at the Sundance, Berlin and Tribeca Film Festivals. Based on the classic novel by legendary pulp writer Jim Thompson, THE KILLER INSIDE ME tells the story of handsome, unassuming small town sheriff’s deputy Lou Ford (Casey Affleck). A quiet charmer of his idyllic West Texas town, Ford has a simple life and a pretty girl (Kate Hudson) to come home to. But when the job brings him face to face with a gorgeous prostitute (Jessica Alba) on the edge of town, Ford's fragile world cracks – unbridling his own dark urges. In THE KILLER INSIDE ME'S blacker–than–noir universe, nothing is ever what it seems. From the acclaimed director of A MIGHTY HEART and 24 HOUR PARTY PEOPLE, THE KILLER INSIDE ME is a thrill–ride that Stanley Kubrick called "the most chilling and believable first–person story of a criminally warped mind I have ever encountered."

YOU AGAIN

Directed by Andy Fickman

Starring Kristen Bell, Jimmy Wolk, Odette Yustman, Sigourney Weaver, Jamie Lee Curtis and Betty White

No matter how old you are, you never get over high school. Successful PR pro Marni (KRISTEN BELL) heads home for her older brother’s (JIMMY WOLK) wedding and discovers that he’s marrying her high school arch nemesis (ODETTE YUSTMAN), who’s conveniently forgotten all the rotten things she did so many years ago. Then the bride’s jet—setting aunt (SIGOURNEY WEAVER) bursts in and Marni’s not—so—jet—setting mom (JAMIE LEE CURTIS) comes face to face with her own high school rival. The claws come out and old wounds are opened in this crazy comedy about what happens when you’re reunited with the one person you’d like to forget.

DADDY LONG LEGS

Directed by Josh and Benny Safdie

Starring Ronald Bronstein, Sage Ranaldo and Frey Ranaldo

After months of being alone, sad, busy, sidetracked, free, lofty, late and away from his kids, Lenny (Ronald Bronstein), 34 with graying frazzled hair, picks his kids up from school. Every year he spends of couple of weeks with his sons Sage (Sage Ranaldo), 9, and Frey (Frey Ranaldo), 7. Lenny juggles his kids and everything else all within a midtown studio aparment in New York City. He ultimately faces the choice of being their father of their friend with the idea that these two weeks must last 6 months. In these two weeks, a trip upstate, visitors from strange lands, a mother, a girlfriend, “magic” blankets, and complete lawlessness seem to take over their lives. The film is a swan song to excuses and irresponsibilities; to fatherhood and self—created experiences, and to what its like to be truly torn between being a child and being an adult.

NOWHERE BOY http://nowhereboy.com/

Directed by Sam Taylor Wood

Starring Aaron Johnson, Kristin Scott Thomas, Anne-Marie Duff, Thomas Sangster and David Threlfall

Imagine… John Lennon's childhood. Liverpool 1955: a smart and troubled fifteen year—old is hungry for experience. In a family full of secrets, two incredible women clash over John: Mimi, the buttoned—up Aunt who raised him, and Julia, the prodigal mother. Yearning for a normal family, John escapes into the new and exciting world of rock n' roll where his fledgling genius finds a kindred spirit in the teenage Paul McCartney. Just as John begins his new life, tragedy strikes. But a resilient young man finds his voice — and an icon explodes into the world.

SPLICE http://www.splicethefilm.com/

Directed by Vincenzo Natali

Starring Adrien Brody and Sarah Polley

Superstar genetic engineers Clive (Adrien Brody) and Elsa (Sarah Polley) specialize in splicing together DNA from different animals to create incredible new hybrids. Now they want to use human DNA in a hybrid that could revolutionize science and medicine. But when the pharmaceutical company that funds their research forbids it, Clive and Elsa secretly conduct their own experiments. The result is Dren, an amazing, strangely beautiful creature that exhibits uncommon intelligence and an array of unexpected physical developments. And though, at first, Dren exceeds their wildest dreams, she begins to grow and learn at an accelerated rate——and threatens to become their worst nightmare.

GROWN UPS

Directed by Dennis Digan

Starring Adam Sandler, Kevin Kames, Chris Rock, Rob Schneider, David Spade, Salma Hayek and Maria Bello

Grown Ups, starring Adam Sandler, Kevin James, Chris Rock, Rob Schneider, and David Spade, is a comedy about five friends and former teammates who reunite years later to honor the passing of their childhood basketball coach. With their wives (Salma Hayek, Maria Bello, Maya Rudolph) and kids in tow, they spend the Fourth of July holiday weekend together at the lake house where they celebrated their championship years earlier. Picking up where they left off, they discover why growing older doesn’t mean growing up.

IN MY SLEEP http://www.inmysleep.com/

Directed by Allen Wolf

Starring Philip Winchester, Lacey Chabert, Abigail Spencer, Kelly Overton, Michael Badalucco, Beth Grant and Tony Hale

In this edge—of—your—seat thriller, Marcus struggles with parasomnia, a rare sleepwalking disorder. After Marcus wakes up with blood on his hands and a knife at his side, he is startled to hear that a close friend has been found stabbed to death. Marcus frantically tries to put the pieces together – could he have murdered his close friend in his sleep to hide a secret between them? The police close in as Marcus investigates his own nocturnal activities, desperate to figure out what happens after he goes to sleep. His journey to uncover the truth leads him to a shocking revelation.

CROPSEY

Directed by and Starring Joshua Zeman and Barbara Brancaccio

Realizing the urban legend of their youth has actually come true, two filmmakers delve into the mystery behind five missing children and the real—life boogeyman linked to their disappearance in their hometown of Staten Island, New York. Growing up on Staten Island, filmmakers Joshua Zeman and Barbara Brancaccio had often heard the legend of ‘Cropsey.’ For the kids in their neighborhood, Cropsey was the escaped mental patient who lived in the old abandoned Willowbrook Mental Institution, who would come out late at night and snatch children off the streets. Sometimes Cropsey had a hook for a hand, other times he wielded a bloody axe, but it didn’t matter, Cropsey was always out there, lurking in the shadows, waiting to get them. Later as teenagers, the filmmakers assumed Cropsey was just an urban legend: a cautionary tale used to keep them out of those abandoned buildings and stop them from doing all those things that teenagers like to do. That all changed in the summer of 1987 when a 13—year—old girl with Down syndrome, named Jennifer Schweiger, disappeared from their community. That was the summer all the kids from Staten Island discovered that their urban legend was real. Now as adults Joshua and Barbara have returned to Staten Island to create Cropsey, a feature documentary that delves into the mystery behind Jennifer and four additional missing children. The film also investigates Andre Rand, the real—life boogeyman linked to their disappearances. Embarking on a mysterious journey into the underbelly of their forgotten borough, these filmmakers uncover a reality that is more terrifying than any urban legend.

WAITING FOR 'SUPERMAN' http://www.WaitingForSuperman.com

Directed by Davis Guggenheim

For a nation that proudly declared it would leave no child behind, America continues to do so at alarming rates. Despite increased spending and politicians’ promises, our buckling public–education system, once the best in the world, routinely forsakes the education of millions of children. Oscar®—winning filmmaker Davis Guggenheim (AN INCONVENIENT TRUTH) reminds us that education “statistics” have names: Anthony, Francisco, Bianca, Daisy, and Emily, whose stories make up the engrossing foundation of WAITING FOR “SUPERMAN.” As he follows a handful of promising kids through a system that inhibits, rather than encourages, academic growth, Guggenheim undertakes an exhaustive review of public education, surveying “drop—out factories” and “academic sinkholes,” methodically dissecting the system and its seemingly intractable problems. However, embracing the belief that good teachers make good schools, Guggenheim offers hope by exploring innovative approaches taken by education reformers and charter schools that have—in reshaping the culture—refused to leave their students behind.

HOLY ROLLERS http://holyrollersfilm.com/

Directed by Kevin Asch

Starring Jesse Eisenberg, Justin Bartha, Ari Graynor, Danny A. Abeckaser, Q-Tip, Elizabeth Marvel and Jason Fuchs

Holy Rollers is inspired by actual events in the late nineties when Hasidic Jews were recruited as mules to smuggle ecstasy from Europe into the United States. Sam Gold (Jesse Eisenberg), a young Hasid from an Orthodox Brooklyn community reluctantly follows the path his family has chosen for him, awaiting a pending arranged marriage and studying to become a Rabbi. A charming neighbor, Yosef Zimmerman (Justin Bartha), senses Sam’s resistance and propositions him to transport ‘medicine’ for Jackie (Danny A. Abeckaser), an Israeli dealer, and his girlfriend, Rachel (Ari Graynor). Sam quickly demonstrates his business skill to his bosses, who instantly take Sam under their wing. Now exposed to the exciting and gritty worlds of Manhattan andAmsterdam nightlife, Sam begins to spiral deeper into their detrimental lifestyle, experimenting with ecstasy and then falling for Rachel. As the business grows, Sam’s double life begins to rip his family apart and the community becomes suspicious of his illegal activities. Sam slowly comes to realize the façade behind the easy money and parties. Caught between life as a smuggler and the path back to God, Sam goes on the run, forced to make a fatal decision that could bring the entire operation crashing down.

8: THE MORMON PROPOSITION http://www.mormonproposition.com/

Directed by Reed Cowan

8: The Mormon Proposition exposes the Mormon Church's historic involvement in the promotion and passage of California's Proposition 8 and the religion's secretive, decades—long campaign against gay rights. The film takes place in California and Utah as Mormons, following their prophet’s call to action, wage spiritual warfare with money and misinformation against gay citizens, doing everything they can to deny them of marriage and the rights that come with it. 8: The Mormon Proposition opens in theaters on June 18th, 2010, two years after the first gay marriages took place in California (June 17th, 2008).

THE DISAPPEARANCE OF ALICE CREED http://www.whereisalicecreed.com

Directed by J. Blakeson

Starring Gemma Arterton, Martin Compston and Eddie Marsan

Two men — one in his twenties, the other nearer forty, both intensely focused on the task at hand — line the inside of a transit van with plastic. Shopping, they buy a drill, mattress and other supplies. In a small flat they assemble a bed for the mattress and staple foam insulation and board to the walls and windows of a bedroom. Then, their meticulous preparations complete, they kidnap a young woman. They drag her from the street into the back of the van and, with a bag over her head and ball gag in her mouth, take her back to the flat, tying her to the bed in the room they have converted into a prison cell. The kidnappers are Danny (Martin Compston) and Vic (Eddie Marsan), two ex—cons planning to make a mint on the ransom for the young woman. The younger, nervier of the two, Danny defers to the more experienced Vic, who acts with a steely conviction. Their hostage is Alice Creed (Gemma Arterton), daughter of a rich businessman, chosen by Vic and Danny as their passport to a better life. Terrified and immobile at first, it soon becomes clear that Alice isn’t about to let her captors use her as capital without a fight. As determined to escape as Vic and Danny are to succeed, Alice enters into a battle of wills which strains the already fractious relationship between the two men. As the deadline for the exchange draws nearer, all three are brought close to breaking point, with Vic and Danny’s foolproof plan descending into a desperate struggle for survival.

HAPPINESS RUNS http://happinessruns.com/

Directed by Adam Sherman

Starring Mark L. Young, Hanna Hall, Jessie Piemons, Laura Peters, Shiloh Fernandez, Andie Macdowel and Rutger Hauer

A young man named Victor realizes the shortcomings of the utopian ideals on the hippie commune where he was raised. Victor’s mother is funding the commune where the guru Insley hypnotizes and seduces women with a technique he calls “running.” Insley manipulates the minds of these women so that they give him their bodies and all their worldly possessions. Victor’s childhood love, Becky, returns to take care of her deathly ill father. Victor, haunted by visions of Becky’s death, is desperate to save her and himself by escaping from the polygamous cult. Preoccupied with Insley’s free love philosophy, the adults of the community overlook the painful reality that the self destructive behavior of their children is most certainly due to early exposure to sex and drugs. To afford an escape, Victor tries to sell weed but is cut out by rivals competing for Becky’s affection. Finally, Victor is torn between getting money from his mother who is entirely under Insley’s influence, dealing with the violent drama of his drug—addled friends, and staying to save Becky as she spins out of control.

Up and Coming

So much coming up in the near future. Some movies not quite as worthwhile as others, but still worth watching.

3.31.10 - Band of Skulls @ Bowery Ballroom

4.01.10 - Band of Skulls @ The Music Hall of Williamsburg
4.02.10 - Clash of the Titans
Dexter Scott album release
4.03.10 - Moonchildren Presented by Atlantic Theater Company, Directed by TODD THALER!
4.04.10 - Bonobo @ The Music Hall of Williamsburg
4.16.10 - Death at a Funeral
Kick-Ass

4.28.10 - VV Brown @ Bowery Ballroom
4.30.10 - Nightmare on Elm Street

6.07.10 - La Roux @ Terminal 5
6.30.10 - Passion Pit @ Governors Island
9.17.10 - Vampire Weekend

Films that I still need to see:
The Runaways
Girl with the Dragon Tattoo

COP OUT

Once upon a time Kevin Smith made a decent movie with a star-studded cast… and they all lived happily ever after. If it sounds familiar, that’s because it is. COP OUT wasn’t nearly as disappointing as I expected it to be, but there really isn’t much to say about how wonderful or funny it is either. Normally I enjoy Smith’s films, but this one wasn’t quite up to standards. I’ve learned that he generally writes his own stuff. According to Entertainment Weekly, this is the first time he’s directed a film and not at least co-written it. So I suppose I have to go a little easy on him – he’s out of his comfort zone.

The story itself is pretty generic. It’s an interracial buddy cop film. Bruce Willis and Tracy Morgan are partners who, after nine years (a key plot point brought up again and again), still manage to put up with each other on a daily basis. Willis is the collected, serious bad boy to Morgan’s anecdotal somewhat slow, shouting hysteric. After a drug bust gone bad, they get put on unpaid probation. Willis is devastated, as he needs to pay for his daughter’s wedding (big name #3 – Michelle Trachtenberg), or give in and allow his ex’s new husband to pay the tab. As a way to get money, Willis plans on selling a very rare vintage baseball card, but is foiled in his attempt to do so when it’s stolen by Sean William Scott (#4). Willis and Morgan set out to find Scott, discover what happen to the card, and end up involved in a deal with a gang leader, played by one of my personal favorites, Guillermo Diaz (#5). Unfortunately, Diaz’s performance is exaggerated and generically stereotypical.

Stylistically the film was all over the map. The cinematography wasn’t bad, and I’d say the effects were pretty well done. Kevin Smith doesn’t have much action movie experience under his belt, so all things considered he did a good job. The slow motion sequences were well placed and not over done. The gun fights weren’t nearly as poorly done as they could have been. In terms of the genre, COP OUT fits in it’s own way. It’s clear that the film is supposed to be an “homage” to the 80s buddy-cop genre, and it works. But, the cheesy music took it one step too far. Distracting, overdone, corny… it was ridiculous. One point less Mr. Smith. Sorry.

Willis put on a decent show. His part honestly could have been played by anyone, but he did it justice. He brings a seriousness to roles like these that manifests in hilarity. You can’t help but laugh out loud. But, I will say that the scenes in which I found Willis most amusing were as a result of his back and forths with Sean William Scott. In a nutshell, Scott steals the movie. His backseat quips and jail cell schtick are probably the most memorable portions of the film. And for the record, I really never noticed how much he looks and acts like Paul Rudd. It’s an uncanny resemblance. Just, ya know, to put that out there.

Another point on the acting: I’m all for Tracy Morgan in a leading roll, but I’m convinced the man cannot speak without slurring his words or mumbling. Honestly, there were some scenes where I had absolutely no idea what he was saying. All I could think was, “Gee Kevin Smith, were there really no other usable takes than the incoherent ones you’ve chosen?” He’s hilarious and I love him, but Morgan’s dribbling and mushing of his dialogue became distracting very early on.

For the record, lets get into some of the other random celebrity appearances, shall we?

#6 Rashida Jones

#7 Kevin Pollak

#8 Adam Brody

#9 Susie Essman

#10 Jason Lee

#11 Fred Armisen

I'm very interested in finding out how much they were all paid. Obviously it's not always about the money, but this isn't one of those movies actors due for the street cred or award nods.

Aside from the obvious problems with this film, it was amusing. There were some truly laugh out loud moments. As rainy day movies go, this one is a winner. But, at a time when people are flocking to see the re-released Oscar nominated films, COP OUT is seriously going to suffer in the box office – with or without help from the less than flattering reviews it’s been getting.

A little behind the ball on this one

Eric Rohmer passed away on January 11^th, 2010 and I didn’t even know about it until Friday February 19^th, at 3:48pm. How did this happen? One of the most influential and creative minds in the film world, and there wasn’t even a single blip on my radar for an entire month… I could actually see myself still going on blindly until another month from now when the Oscars annual tribute to those who have passed is screened. But what the hell!? Really? How did I not know about this?

Do I not read enough news? Yes, I can honestly say I don’t follow the news as much as I’d like. Do I not watch enough television? Certainly not. Although I don’t watch much news, I do watch entertainment channels. Even they cover important details about people like Rohmer…. Or so I thought… So what happened? Was his death simply washed over by more important and significant information like Tiger Woods’ pending apology (which was a disappointment as expected anyway)? Or Kourtney Kardashian’s baby’s father being an insolent prick? Or the Olympics for that matter? Was everyone so caught up in the hype of international athleticism that this incredible man’s death was just swept under the rug with all the other things I feel I should know?

The New York Times published a lovely obituary. But why didn’t I receive an email update when it was put out!? I got an email when Bill Clinton went to the hospital. I got an email when Sean White won a gold medal. I get an email every time civilians are injured in the Middle East. So how is it that Eric Rohmer wasn’t considered important enough to warrant an email alert?

I feel confident saying that this clearly isn’t just a case of my laziness to collect and absorb news. There was a serious case of inactivity on the media’s part which allowed this information to go unnoticed for over a month. This particular situation leads me to believe that there is something terribly wrong with today’s media priorities. Obviously I don’t believe a singular man’s death is more significant than the crisis in Haiti, or our country’s internal battle over healthcare reform. However, how is it that even entertainment news – “news” which is supposed to cover important details about the inner workings of the industry – did not make any significant mention of Rohmer’s passing? This boggles my mind. There’s something terribly wrong with the system if one of the men who led the way for today’s filmmakers is overlooked. Forty years from now, will Almodivar be so overlooked by American media? Will Quentin Tarantino’s films be all that’s left when he dies?

Okay kids, bold statement… Today’s media doesn’t have the respect for amazingly talented people like Rohmer.

In His Honor

In honor of the late Éric Rohmer, two film responses from my French Cinema Class first semester senior year.

L'Anglaise Et Le Duke (The Lady and the Duke) 2000

The most striking feature of L’anglaise et le duc is the strong reference to 16^th – 18^th century art, particularly in the sets and scenery. At the very opening of the film the painting comes to life and becomes an active scene. If one were to stop at any point throughout the film, the image would resemble a well-framed portrait or landscape. The staging of the scenes are extremely and obviously calculated to reflect the artistic style of the time period. The muted and pale tones in the environment, as well as the characters’ dress, also serve to enhance the feeling that we are observing period artwork and not simply watching a film. The sense of artistry is not limited to the framing, or even the costumes. All of the interiors and exteriors are characterized by trompe-l’oeil style painting and construction. Meaning (loosely) “to trick the eye,” this technique is characterized by extreme detail and realism, creating the optical illusion of three dimensions. It is obvious throughout the film that the sets are painted and fake, however they are incredibly well done and at some points are relatively realistic. This use of painting within the scenes enhances the sense that each scene is a painting or piece of art in itself. It is these characteristics which give the film such a “strange” look, as well as creating a sense of fantasy and nostalgia.

Le Genou de Claire (Claire's Knee) 1970

The concept and definition of desire is played with in “Le Genou de Claire.” This is most clearly demonstrated by the camera work, paired with the content of Jerome’s dialogue and behavior. Jerome constantly reminds Aurora (as well as the audience) that he is engaged and no longer interested in other women. However, his reasoning behind his devotion to his fiancé is weak – that they should remain together because they are still happy with one another after six years. He shows no real emotion or affection when talking about the woman he should be in love with, as reflected in the shots used. When Jerome and Aurora first meet on the bridge, the camera remains at a comfortable distance from them despite their intimacy and closeness. He tells her about his fiancé, but because of our physical distance from Jerome, we aren’t able to see any emotion on his face. Our distance, I feel, reflects his separation from his own emotions, and is effective in foreshadowing his lack of control over his own desires.

His actual desires are not displayed in dialogue or interactions with others, but in the shots and techniques used. In regards to Claire and her knee, the only time the camera is every really close to Jerome is when he is talking to her – specifically in the scene when she gets injured playing volleyball. He sits close to her, and the camera angle is often a tight shot of both characters, or of her – sitting with her knee up against her chest. When we first become aware of his fascination with her knee, we see her from his point of view and there is a close up of this awkward body part while she’s on the ladder picking cherries. By turning the camera into the eyes of Jerome, we are able to see exactly what he desires and even get a sense of his thoughts and emotions at the time.

When we first meet Laura, the camera plays similar tricks on the audience. At first, it seems as if her entrance is just like any other – the camera focuses on her as she sits at the table with the adults – however it lingers and closes in on her. It becomes clear that we are seeing through Jerome’s eyes, and although he claims he does not feel anything for her later in the film, it is clear that he is drawn to her for some reason. His relationship with Laura again shows the dichotomy between his actions/words and the way the scenes are shot. He constantly tells Aurora about his disinterest in Laura, and there are also scenes in which he reminds the young woman about his wife-to-be. He distances himself from Laura emotionally, yet physically they are always close. They hold hands, she rests against him as if they were a couple, and the camera is always very close to them when they are together. Unlike the scene on the bridge, the proximity of the camera reflects the physical closeness as well as the overall intimacy of the scenes between Laura and Jerome.

What I think is most interesting about the film, however, is the fact that the woman he does desire – Claire – is never very close to him physically, nor does she open up to him at all in their conversations. However, with Laura, they have mature and personal conversations while almost always remaining physically connected.

Musical Stylings and Other Such Things

Not gunna lie, I'm pretty excited for the next few month...

movies are coming out, concerts are coming up... (and best of all, the Oscars are getting closer by the day!)

Tuesday February 9th - Yesayer

Friday February 12th - Wolfman and Valentine's Day open in theaters

Friday February 19th - Shutter Island opens in theaters

Saturday February 20th - The Golden Filter (Happy Birthday Emma!)

Friday February 26th - The Crazies opens in theaters

Friday March 5th - Alice in Wonderland opens in theaters

Friday March 19th - The Runaways opens in theaters

Tuesday March 23rd - Alphabeat

Friday April 2nd - Clash of the Titans